Farzaneh Hosseini—On the Challenges of Being an Artist (original) (raw)
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Art, Community and Social Media in Maysaloun Faraj’s Contemporary Work
Intellect Discover: Journal of Contemporary Iraq & the Arab World Volume 17, Issue 1, Perspectives on Modern Iraqi Literature and Literary Figures , 2023
“The past two years have had their frightening stretches, but communities across the globe know how to work together to survive even this unprecedented pandemic. Recognizing and engaging such communities through art is a tribute to the necessity and relevance of artistic creativity across borders and circumstances.” (extract from this paper by Dr Shakir Mustafa)
Creative Encounters and Artistic Practices Sharmistha Saha Hakara20190602 80360 gc2d3o
http://www.hakara.in/sharmistha-saha/, 2018
The relationship of art to practice is not a result of an after thought. Rather art has its originary principle based in practice or to skillful practice to be more precise. This is what the etymology of the word art borrowed from early thirteenth century French suggests. However today when we think of the word art, it appears to us as that which has some kind of material manifestation. It is hence not the process or the practice but preempts a material being. The relationship of people then to art becomes that of consumption rather than a participatory play that emerges into possibilities. Here consumption presupposes a producer who is somewhat alienated from the consumer and the result is the artistic product. However, if we look at artistic practices as processes then we do not run the danger of this threefold alienation, which is that between the artist, the spectator and the artwork. The artwork results then out of an encounter within a volatile space. What do I mean by encounter here? Encounter is essentially a 'non-necessary chance' (Althusser), it is the randomness of origins
DO IT بالعربي, 2016
Principal theoretical essay examining relational aesthetics in the Arab context, on the occasion of the holding of the Arab iteration of the ongoing DO IT publication and exhibition project originally conceived by Christian Boltanski, Bertrand Lavier and Obrist in 1993. The book DO IT بالعربي includes a selection of previously published instructions and over 70 newly commissioned artist instructions including those of Etel Adnan, Mona Hatoum, Susan Hefuna, Hassan Sharif and Rayyane Tabet that anyone can use to make a work of art. Essays by Adila Laïdi-Hanieh and Kaelen Wilson-Goldie and a conversation between co-curators Hoor Al Qasimi and Obrist contextualise the project and its 2016 iteration in Sharjah.
Conversations with Mother Artists on the Dynamics of Support in India
Routledge eBooks, 2022
The conversations in this chapter look at the maternal and artistic roles of two women artists born and living in New Delhi, India. Shobha Broota and Pooja Iranna, a mother and daughter who are both artists, discuss support structures and their personal perspectives on the choices they have made in relation to their mothering and art practices. The two women artists share their challenges and explore the dynamics of the inter-personal relational support that enables their studio practice Shobha Broota has worked as an art educator at Triveni Kala Sangam (Triveni), a prestigious art centre in New Delhi. Triveni was also the location of her studio and her home, which she shared with her former husband, Rameshwar Broota (also an artist), and their two daughters, Pooja and Sakshi. Triveni provided the backdrop against which Pooja and Sakshi grew up, immersed in the world of art. For Pooja Iranna, now also an artist in her own right, Triveni became a springboard to propel her towards her own artistic practice. The conversations with Pooja Broota took place on 9th and 13th July 2021, those with Shobha Broota were on 16th July 2021. All took place on Zoom. A conversation with Shobha Broota Shobha Broota (born 1943, New Delhi) is an alumna of the College of Art, New Delhi. In a long and celebrated career, she has worked in several genresfrom her early portraits, to woodcuts and etchings in the 1970s and 1980s, to paintings in oil and acrylic in which she refined a minimalist, abstract idiom. More recently, she has produced canvases wrapped in fabric, thread, and wool; these are hand-knitted, crocheted, and stretched to create intricate grids and patterns. Shobha's abstract forms have a tranquillity and deceptive simplicity, her lines have rhythm and subtle movement, her colours have a rich resonance, and her surfaces a texture that is complex. Ruchika Wason Singh: Our discussion today is about motherhood, art practice, and the kind of support system that women artists would like to have, and which they received or did not receive. I want to know your
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Festschrift in Honour of Prof. Jari Jat Jacob @ 60, 2020
This paper looks at Prof Jacob Jari's workshop activities as he turns 60. Often times, the art historian rides on the faulty assumption that the artist should be spoken for; thereby masking the voice and perspectives of the artists with theirs. In a bid to correct this erroneous practice, this paper shares the stage with the artist - the subject. thus the paper presents the interview held with the artist, who is also an art historian of repute.